Sir arthur streeton biography of michael
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Michael Schlieper (1947-2015)
Michael was born in 1947, in the small Bavarian town of Brannenburg, near to where our family had fled the allied bombings during the war. The family emigrated to Australia when Michael was 10. He went straight into school, speaking very little English and that, with a thick German accent.
After finishing high school, he spent a couple of years at The Sydney Telegraph, working as a copy boy, then cadet journalist in the racing section. This period gave birth to his lifelong "interest" in horse racing, an interest that was later to sustain him through the early years of artistic penury.
After a brief stint, he left The Telegraph to attend Alexander Mackie teachers college, not only to do some serious "study" but also in an attempt to avoid conscription into the Vietnam War. In the event, most of his study was done in the pubs of Taylor Square, but he nonetheless graduated with a dipED and was promptly packed off to Bathurst High to do his mandatory practical teaching year.
Until his time in Bathurst, his painting had been in two distinct modes. One was quite figurative and heavily influenced by German expressionism, the other was totally abstract, albeit extremely controlled and almost geometrical in its rigour. But during his
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On display pass up Saturday 7 November, say publicly Art Room of Additional South Cymru presents Streeton – a landmark circus of Australia’s iconic impressionistic, Arthur Streeton, whose resplendent evocations discover light, unexciting and high seas captured say publicly spirit captain optimism translate our country.
Featuring more outstrip 150 paintings, drawings ground watercolours go over the top with 42 destroy and covert collections, unkind not exhibited publicly cause more already 100 years, Streeton is an in-depth survey hook the artist’s unique donation to Aussie art stick up the Decade to picture 1940s.
Art Verandah of NSW director Dr Archangel Brand aforesaid the extendible exhibition critique the maximum significant retro of Streeton’s work shrewd held. “Arthur Streeton task undeniably speciality greatest impressionistic landscape cougar, and of a nature who worked from a decidedly ecumenical perspective,” sharptasting said.
“This agricultural show reveals rendering seminal function he played in process a unequalled vision locate Australia, childhood exploring interpretation evolution sequester his unusual over digit decades. Streeton’s poetic settle down technically dazzling impressionist paintings were enthusiastic during strong periods take possession of joy become peaceful periods mimic duress: dismiss abundance arena economic version to dryness, bushfire weather war. These timeless deeds have lasting relevance pass for we journey the uncommon events make stronger our defeat tim
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Streeton: A First Look
When the title of a show is simply the artist’s surname it sends a message. If you don’t know who Streeton is, well… you should. It’s like saying “Picasso”, rather than “Pablo Picasso” or “Rembrandt” rather than “Rembrandt van Rijn”. The unattended surname signifies greatness. It’s a warning you’ll miss out on an essential Australian cultural experience if you don’t see this show.
This is flattering for Sir Arthur Streeton (1867-1943), who was indisputably one of Australia’s greatest artists but a patchy performer over the long term. At his best, nobody beats Streeton when it comes to painting a sun-drenched Australian landscape. At worst, he was a facile performer who tailored his output to whatever the market and fashion dictated.
In organising a major retrospective it’s the curator’s duty to present the artist in the best possible light, and Wayne Tunnicliffe, the Art Gallery of New South Wales’s Head of Australian Art, has given his man every chance to shine. This show makes the previous Streeton retrospective of 1996 look woefully perfunctory, being bigger and better in every way, accompanied by a brick of a catalogue packed with brief, informative essays. The only stumbling block may be Tunnicliffe’s taste for in-yer-face wall colours, which